Whether art can comfortably exist in this thoroughly commercial frame is a question for the ages. Let’s say that whether this show succeeds is firmly in the eye of the beholder.
Today, the fountain at Copley Place feels embarrassing in some way; not its form or execution, but its very existence.
The Boston Harbor Shipyard is a nifty setting for public art, redolent of old-school fisherman and maritime work. Its fading grandeur of weatherbeaten brick buildings, crumbling facades and stern signage sometimes rivaled the formal artwork.
The show was like topping a delicate wedge of artisanal cheese with a handful of artisanal trail mix. Both the Christian Science Plaza and the sculptures themselves are exquisite on their own, but together the experience felt disjointed and oddly incompatible.
None of these games engendered any suffering at all. They were already pre-designed for failure; a player has no chance of success. But isn’t part of the pleasure of gaming the repeated failures that, over time, lead to successes?
Artist Michael Lewy’s comprehensive, clever and surprisingly humorous take on an imaginary experimental settlement explores the ramifications of having human potential promptly assessed and harnessed for work, and work alone.
Sound artist Tutschku employs audio selections that are briefly broadcast periodically throughout the course of the day to startle and surprise listeners, to crack the shell of our typically prosaic and hectic modern lives.
The more cerebral visitor may leave “Collision18:present” wondering if, like the classic definition of what constitutes pornography, ‘cyberart’ is firmly situated in the eye of the beholder (or of the curators).
ROUND: Cambridge is a testament to what can be accomplished using smart phones, GPS coordinates and a Google map.
Part of the great experiment that is Artisan’s Asylum: meeting your neighbors, realizing you need someone to help you solder/weld/create a 3d prototype, and then wandering amongst the open workspaces until you meet a co-collaborator.